When this font slips on a pair of ordinary, over-the-counter spectacles, applies a little hair gel and straightens its red, white and blue tie, it disappears amongst common mortals like you and I... But when danger raises its ugly head, when Truthiness, Justice and the American Way are threatened, MildMannered abandons its secret identity, rips open its shirt and takes to the skies to fight evil... ... and, of course, to help sell colorful paper plates, halloween costumes and happy meals.

BeneCryptine is not based on any particular calligraphic type style. It has exaggerated upper-case letters and hyperactive lower-case letters that give it a wild and undisciplined look. It comes in four styles: the base style, a decayed variant, a shadowed style, and a final style that looks much like the base style but which has the spacing of the shadowed style. This last style can be layered with the shadowed style to easily create lettering with two colors.

Freely hand-painted with a flat brush, this font conveys spontaneity both through its typeface design and the numerous alternates it delivers. There are four different glyphs for each lower and uppercase letter and two variations for figures (and yet some punctuation marks). All these alternates are programmed to easily cycle at the click of a button - yes, the absolutely amazing Contextual Alternates one. Brushtones, a bold brush font, nice and handy, just perfect to color your message.​ ​Give it a try!

RNS Ahumada comprises 3 versions, Regular, Slanted and Ornaments, and was drawn pattienly with the handmade blackboards from the supermarkets in mind. A mix between readable and a warm human touch, that definitely makes it a friendly and sweet shape. The main features and advantage of having a varied set of widths, makes it a source that can be mixed to achieve a greater variety in composition. We recommend the use of color, it gives a strong personality and makes more attractive.

Hillshort is a font type brush with additional fonts as the outline and solid that you can adjust the color to make this font look more perfect. Hillshort is ideal for urban design, logos, apparel,T-shirt,Hoodie, graffiti,quotes, product packaging, or anything which needs a typographic turbo-boost. Hillshort features comes with All Caps Uppercase & Lowercase, Numeral, Punctuation, Stylistic/Alternate Characters, and also Support Multi Language. if you have any Question please Message Me. Thank you ERGIBI STUDIO

Bernhard Modern was designed by Lucian Bernhard and was first cut by American Type Founders. Bernhard Modern is an unusual face with small lowercase but very tall ascenders and short descenders. Bernhard Modern was intended to hold its color and contrast without depending on the spread of ink of the letterpress method. It has an attractive pen drawn quality which has made it a popular choice for invitations and greetings cards. The Bernhard Modern font is useful for advertising and display work.

Micheliya has a font script that is provided with great tenderness to be presented with a variety of stunning character models. Micheliya combines a new design that features free, warm, modern features. taste. The diversity of weights provides a variety of choices that will help you find the best design colors for your project. Lighter weights are perfect for heavier body text ideal for high impact headers. Alternative styles available provide different characters that give your logo or business card a unique display.

Promethium is an elegant vintage-style condensed font with lots of ornate detailing. Ideal for western, cowboy and rodeo graphics, as well as circus & carnival themes. Additionally, Promethium can trace some of its design roots to the well established Argentine graphic style known as Fileteado, as well as to Victorian poster and book arts. The stacking & layering of the 4 different versions of the font can yield a great range of eye-catching diverse looks and color schemes that can fit many purposes.

Crystal is a very trendy two font system that could be layered to give You multiple possibilities in designing. When You use it with gradient it gives a faceted 3-D effect. What is more it can be outlined that gives an additional industrial look. Both fonts contains the same metricts so using them is so simple-just copy & paste in place in different layers and then play with colors, gradients, outlines as You like :) Crystal is great for headlines and logotypes.

Pontiac Inline is a layered Art Deco font designed by Fanny Coulez and Julien Saurin in Paris. This finely balanced inline font can be enhanced to improve your designs and bring an unusual and modern feeling. You could change the inside color, then add a 3D or shadow effect. To do so, you can simply superimpose the elements in compatible softwares (Photoshop, Illustrator...) ; The Regular above, the Inside line below, for example. We hope you will enjoy our work. Merci beaucoup!

Hello, Are you looking for a SVG font? Do you want of creating Something that stand out and inspire creativity, imagination, and endless fun? Wait no more, we will give you the best choice. Ice cube a SVG Color Font Inspiring from Playful typography. This font is perfect for a design that makes it more attractive and playful. made with a very good level of aesthetics making this font suitable for book cover, poster, packging, merchandise, logotype and much more.

This typeface was inspired by the popular typeface Machine but is not intended to be a copy of that font. It uses straight lines with circles converted to octagons. The Masheen family offers a variety of overlay possibilities to produced multicolored lettering. MasheenConvicted and MasheenFlag can be layered over MasheenBold to produce letters with two colors. The two overlay styles can be placed over MasheenCollege to produce bi or tricolored lettering. Examples are given in one of the font posters.

Haboro Slab. It’s a nose-to-the-grindstone kind of font like the first of its family. This slab serif pushes through the clutter powerfully in editorial and corporate work such as business websites and software. The Haboro hyperfamily as a whole is known for its ability to make the work clear and simple, even with the fonts’ advanced angle--and Slab is no change here. Consistent with Haboro, too, the simplified geometric features of the slab face just make sense, no matter where you use it. Its timeless wedge-molded serifs give this family the formula it needs to function flexibly in jobs from fashion to packaging. Enhance your output with the font’s wide range of ligatures and alternates, including OpenType alternates. Use Haboro Slab’s large pair of solution glyphs and various other OpenType specifics, too, to give your message the clarity it deserves. Even more, it couples well with the sophisticated didone of the Haboro hyperfamily to further expand your capabilities. Haboro Slab has every quality you need for successful lettering. Use this modification on a classy tradition to mold and shape your next layout, whether website, iPhone app, advertising, or newspaper. There is no work Haboro Slab won’t power through.

“Live in the sunshine. Swim in the sea. Drink the wild air.” ― Ralph Waldo Emerson Hey there sun-kissed beauties! Are you looking for a gorgeous handwritten font that’ll captivate your viewers and make your branding shine as bright as the sun? Introducing Sun-kissed - A Handwritten Font. With every hand-drawn stroke and curve, Sun-kissed will delight and add brightness, modernity, and fun to wherever it’s placed. Impress your party guests with gorgeous invitations, make a statement on your social media banners, and add a little bit of sunshine to your corporate identity. This stylish Handwritten font is also can be used for headings, logos, business cards, printed quotes, cards, packaging, and presentations. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Trump Gothic is a reconception of ideas from Georg Trump's seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became a common sight in movie credits, on posters and magazine covers, in fashion branding and on corporate web sites. Though countless attempts have been made to emulate it, its unique totality and attractiveness to layout designers was never really topped. Its appeal is largely due to its double-duty toolbox: An economic functionality that allows it to pack large amounts of information in small spaces, and a clear, modular aesthetic that gives it the ability to emphasize short text in large sizes, all without sacrificing legibility or giving in to dated or over-rehashed industrial gothic forms. The typeface was redrawn, refitted, optimized and greatly expanded in 2013, and the result is Trump Gothic Pro, a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.

Developed for screen For not the first time, Fontsmith was commissioned to develop a font for one of the UK’s terrestrial TV channels. The product was a clearly-defined three-weight family. When italics were added, it became FS Matthew, a clean, stylish, structured sans serif with swooping, open curves and a bright, lively personality. Southbank Inspiration for many of the forms of FS Matthew came from details found within the modernist buildings and architecture of London’s Southbank, such as the Royal Festival Hall. During the font’s gestation, Jason had found himself at London Studios, a TV studio on Southbank, and a wander around the neighbouring arts buildings proved thought-provoking. The result was a font with a very British character: solid forms that provide the platform for innovation and distinctiveness. Feelgood efficiency FS Matthew’s trademark is efficiency with a feelgood factor: disciplined enough for corporate identities, websites and signing systems, and colourful enough for logotypes and advertising. Its versatility and excellent legibility are achieved via some unexpected details: the reaching curves of the “g” and “y”; the simple shape of the “u”; an off-kilter “k”; generous counters; and a slightly condensed aspect that makes FS Matthew a space-saver in text or title sizes.

Vesta™ was originally designed as an orientation and information system for the city of Rome, the birthplace of the roman alphabet. The forms are inspired by letterforms found on a frieze in the Vesta temple in Tivoli. Vesta has more contrast than the average sans serif but, like many of other designs of Gerard Unger, let in a lot of light - the letterforms are open, the counters generous. Relatively narrow and hence economical - without feeling too compressed - Vesta is an ideal solution for newspapers and magazines, and numerous other applications, including corporate identity and more. Big Vesta was intended as Vesta's display partner. However, it also performs very well at small sizes - its large x-height and short ascenders and descenders make it particularly economical, making it ideal when space is limited; for example on a mobile display. Vesta and Big Vesta are now available in seven weights - from Light to Black - and include everything necessary for setting extended texts well: italics, small caps, and a range of figures, including old style, lining, and tabular figures. All in addition, Vesta is available as a family of OpenType fonts with a very large Pro character set and supports most Central European and many Eastern European languages.

FF Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-into-typeface” conversion, FF Signa received a Danish Design Prize in 2002. FF Signa is radically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. These features make FF Signa pleasant for reading, even at very small sizes. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. Later on Signa Serif, Stencil variants and a Signa Slab family added even more versatility. The resulting FF Signa type system may be used for corporate identities, brochures, magazines, communication, books, and on-screen publications.

Haboro Slab Soft is a scion of the Haboro hyperfamily. This concept powers through with its well built, accommodating nature. Haboro Slab Soft’s serifs are rounded, giving it a softer look. The Haboro hyperfamily is a comprehensive design suite that provides solutions for many projects. The iconic angled wedge makes this family ideal for apparel, packaging, apps, corporate identities and advertising campaigns. Subfamilies in the hyperfamily include the original Haboro, a Didone face, Haboro Sans, Serif, Soft, and Slab. The Haboro hyperfamily is known for its ability to make your copy appear clear and simple. The Haboro typeface is built on a common underlying model. It has the same cap height, the same x-height, and the same basic character shape. This unification of shape and proportion results in a complementary set of typefaces. Haboro Slab Soft’s wide variety of ligatures and OpenType alternatives give your message the clarity it deserves. The Haboro Slab Soft family includes seven weights, from Thin to ExBold, three widths, and matching italics. There are over 550 glyphs per style and support for over 70 Latin-based languages. Haboro Slab Soft includes features such as small caps, ligatures, fractions, and alternatives. Haboro Slab Soft is there when you need to present information in a clear and friendly fashion.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese

Mesmerised by the sparkling greenish-yellow mineral called Olivine hidden within the black basalt of Lanzarote's lava fields, we named the gem of our library after this natural beauty. Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot Devanagari supports Devanagari and Latin and covers over 330 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot Devanagari comprises 20 static fonts, family package, and variable support. It is the gem you ought to have in your collection.

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Beast Energy is a brush-copying-script font in letter designs having uneven edges as its artistic and organic characteristics. This brush script font can express dramatic, fun impressions through its capital letters making the brush wipe details clearer. The edges will look wider and thicker on certain parts of the letters. The color applications in this brush script font will also give amazing, artistic effects. For example, brighter colors will live up the letters, while darker ones will have dramatic and mysterious effects. Above all, you need to make sure the letters remain legible even in bigger text sizes. Furthermore, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Beast Energy fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

In 1980, Peter Malutzki, Heidi Hübner-Prochotta and Manfred Prochotta founded the FlugBlatt-Presse and began producing broadsheets, which they called FlugBlätter and which also gave their press its name. They were mostly woodcuts or linocuts, combined with hand-set typography. When they finished the series in 1984 there were 67 FlugBlätter. During a Frankfurt Book Fair in the 1980s the collector Rob Saunders acquired FlugBlatt No. 37 along with other prints. Later they became part Letterform Archive, a non-profit museum and special collection library in San Francisco, which Rob Saunders founded in 2014. In 2021, Letterform Archive posted the FlugBlatt No. 37 on social media, where type designer Lena Schmidt saw it, immediately fell in love with it, and developed the plan to bring it into the digital world. After contacting Peter Malutzki – who is still working as a book artist today – and in close consultation with him, Schmidt translated the letterforms into a font series, Malutzki Initials. The three fonts can be used for black (single-color) text using the Regular style, or for multicolor text by applying different colors to the Letter Layer and Figure Layer styles.

My affection for Slab Serifs began in the early 1960s in Kansas City when Rob Roy Kelly was at the Kansas City Art Institute, teaching and writing his book on American Wood Type. I got to know him just well enough to gain access to his fabulous collection of wood type and wood type catalogs. Later, in the1970s, I tried to re-create a Nebiolo Egiziano for Roger Black at New West magazine. And again for Roger, in the 1980s, I designed a Slab Serif logo for Newsweek Magazine. Finally, in 2003, designed the Sutro Family. There were things I didn't like about it, so, over time, I’ve been adding some things and dressing it up a little. Sutro Shaded has existed for a few years as a one color, outlined, drop-shadowed display font. It seemed like it was just dying for a little color. I added five more fonts: Fill, Gradient, Hatching, Rules and HiLite. These fonts can be used in different combinations to achieve various effects. There is a downloadable SUTRO SHADED USER MANUAL PDF in the Gallery section for this family.

Tombo Brush is an interesting font that combines brush font’s artistic and organic characteristics with even line edges which are clear and firm. Furthermore, the capital letters express more modern, simple impressions by following the brush script font’s characteristics of the soft and smooth brush wipes, yet the even smooth lines on the edges show clearer, firmer nuances. Bright and contrast colors can show interesting, dynamic nuances on designs with this font. The even edge lines will ease the application of colors and show clearer visual effects separated from the background. You can apply this font for big text sizes for a legibility reason and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Tombo Brush fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Nature is fond of stripes. Animals have them, plants have them and the rainbow has them. Besides being beautiful, stripes in nature have various origins and functions. But only Homo sapiens gave them symbolic meaning. In the American flag, the 13 stripes symbolize the 13 colonies that declared independence from Britain. In the French “Tricolour” flag, they represent Paris and the king of France. And in Russia’s “Georgiyevskaya lenta,” they symbolize the death and resurrection of St. George, the dragon-slayer. The font family COLORADO , named after the beautifully striped Colorado potato beetle, can be used to construct all kinds of symbolic or just beautiful messages. And thankfully, you need no OpenType diploma to do this. To get your texts multi-striped and multicolored, follow this simple procedure: Write the message with one of the COLORADO fonts and apply a color. Then copy and paste in place, and apply a second font and color. Repeat this again if wanted – and the masterpiece is done. COLORADO ’s language support covers about 100 languages. It has a Western European, a Central European and an Extended Cyrillic character set.

Malsheta font is designed by combining an elegant script font with a simple and charming serif font style that makes this font look different and unique. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Feloxi is a crafted neon-inspired font giving us the creativity to replicate traditionally hand-made lettering from the imagination of their computer. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!